publicist 4,643 Posted December 15, 2018 Share Posted December 15, 2018 1 hour ago, Richard Penna said: 'bizarre ordering' doesn't feel like harsh language for me. I stand by using the words 'completely ruined' for the spiders. It's such a good set piece in the film which I feel Williams missed on album. I don't remember that cue but the album as a whole seemed more rounded than the other two, not clobbered with irritating repetitions (the never-ending setup of Hedwig's Theme) or the sudden intrusion of ill-fitting children's suite stuff (PS) or the anti-climactic build of POA, with a 12-minute suite encapsulating stuff you just heard a few minutes before in exactly the same way. The RAH concert was proof, though, that this score requires much more mastery than the other two, as it is heavily fragmented and wheat and chaff aren't that easily to distinguish (a lot of the last third of the movie is rather textural and not easy to cut). TSMefford 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 3 hours ago, Richard Penna said: I actually like JW's suites much of the time. They bring together related material very well. My anti-OST stance with Williams almost always comes down to either crucial missing material or bizarre track ordering that ruins any sense of narrative. Both affect the HP OSTs. He completely ruined the wonderful spider/car sequence in CoS by separating the tense build-up and the amazing chase cue, and the time travelling cues in PoA begin with a rather downbeat section for Buckbeak's rescue and then afterwards introduce the actual time travelling. If Williams claims to want to take listeners on a 'journey' then IMO these decisions are working against him. But back to positivity... this set fixes all of these narrative problems beautifully :) 19 minutes ago, Josh500 said: Well, all's good. I never said you couldn't air your opinions. It's just that "completely ruined" and "bizarre ordering"... such phrases feel like such an exaggeration to me, but if you really feel that way, then okay. I just felt the need to defend Williams (or his decisions), because I don't feel so strongly about the OST albums at all. In fact, I love and treasure them, with all its little flaws. That's all. This is always sort of my inner dialog with certain OSTs. Specifically on HP3. I honestly don’t mind the OST for HP1 at all. I think it’s such a smart and clever musical experience. It wasn’t really until Chamber of Secrets that I started really feeling like I was missing things and frustrated by the way the OST was done. POA was even worse. Now, that being said. The OSTs just accomplish something very different. They’re albums, and are more about the experience like other albums are. I do appreciate having them though. They’ll definitely stick around in my library. Link to comment Share on other sites More sharing options...
Richard Penna 3,671 Posted December 15, 2018 Share Posted December 15, 2018 7 minutes ago, publicist said: I don't remember that cue but the album as a whole seemed more rounded than the other two I agree that content-wise, CoS is the best OST of three, and it just suffers (IMO) from some ordering problems. A. A. Ron 1 Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted December 15, 2018 Share Posted December 15, 2018 Does this set come with the Polar Express trailer music? TSMefford and bollemanneke 2 Link to comment Share on other sites More sharing options...
Richard Penna 3,671 Posted December 15, 2018 Share Posted December 15, 2018 43 minutes ago, Josh500 said: It's just that "completely ruined" and "bizarre ordering"... such phrases feel like such an exaggeration to me, but if you really feel that way, then okay. I just felt the need to defend Williams (or his decisions), because I don't feel so negatively about the OST albums at all. In fact, I love and treasure them, with all their little flaws. That's all. Nostalgically I have *some* fondness for the first album. If you take it as essentially a concept album for JW's work then most of the decisions are at least understandable. However, if you take a younger me who didn't understand how score albums worked, it left me thoroughly confused: where's the rest of the score? Where's Entry into the Great Hall? Furthermore - confession time: I never 'got' the Children's Suite and outside of the Prologue and HWW, I actually find the rest really boring and it's not in my playlist. JW's 'chamber' style really doesn't do it for me. However, it's great that it's there for virtually everyone else TSMefford 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 15, 2018 Share Posted December 15, 2018 1 minute ago, Richard Penna said: Furthermore - confession time: I never 'got' the Children's Suite and outside of the Prologue and HWW, I actually find the rest really boring and it's not in my playlist. JW's 'chamber' style really doesn't do it for me. However, it's great that it's there for virtually everyone else It was a laudable thing to write (also some of it is more interesting than the plush Disney-fied orchestration of the main score) but i wouldn't have mixed it with the Home Alone/Hook-like scoring. You feel that two different pens were at work and it just doesn't mesh well (same for the dog harp tune, but that's diegetic at least). Reflecting on these scores i guess Williams really slided into COS with ease, as the new themes and the underscore seem more swift, less lumbering than Part Uno, which has a very editorializing feel (akin to the boring movie). Arpy 1 Link to comment Share on other sites More sharing options...
Popular Post bollemanneke 3,337 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 42 minutes ago, Not Mr. Big said: Does this set come with the Polar Express trailer music? Oh, the memories... I remember getting my first laptop that had a DVD drive in it and HP3 being my first DVD ever. The Polar Express trailer became part of HP3 for me because I hadn't figured out how to fast-forward yet. Not Mr. Big, TSMefford, Once and 1 other 4 Link to comment Share on other sites More sharing options...
Ollie 1,059 Posted December 15, 2018 Share Posted December 15, 2018 Sometimes the short missing cues are the best, The Rescue of Sirius. Richard Penna and TSMefford 2 Link to comment Share on other sites More sharing options...
redishere 697 Posted December 15, 2018 Share Posted December 15, 2018 About the frequency cutoff: humans in optimal conditions have a 20-20000hz hearing range, yes, but I discovered today the threshold increases at 15000 Hz in adults (especially male). Whoa, didn't expect it. This means I probably won't notice anything TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,287 Posted December 15, 2018 Author Popular Post Share Posted December 15, 2018 2 hours ago, TSMefford said: After getting some sleep, I’m back. Now onto my questions. Prepare yourself @Jay Some more general ones: Firstly. Do you have a favorite or fondest moment, anecdote, story, etc. from working on the set that you haven’t mentioned and would like to share with us? The whole thing is still surreal to me, that I would even be asked to work on something so large and important! The whole thing came together extremely quickly (especially for 7 discs / 8 hours of music!) and it all happened in March, so it's a bit of a blur, really. I mostly remember the thrill when Mike finally got access to every take recorded for COS, and he could look for some of the stuff we thought might exist on early takes based on the sheet music. When he found the earlier "Prologue: Book II" cue, and the original endings to "Petrified Colin" and "Follow the Spiders", I was ecstatic! But the most thrilling parts were probably hearing music I never even knew existed before - "Hedwig's Theme for Harp", "Hogwarts Forever (Vocal Version)", and the 3 COS television commercials. And the fact that they are all SO cool on top of simply being "new" was icing on the cake. And of course finally hearing clean Azkaban music after all these years was ecstatic. If I recall correctly, I couldn't stop myself from listening to "Rescue of Sirius" first, before listening to the entire album in order. Anyway, after all the assembly and mastering was done, and Williams approved them all, by next duties were to proof read Mike's liner notes as he wrote those. Later, once the art design was coming together, I proof-read all of that. I also did some double checking of the pictures they were purchasing from WB to include in the books to make sure every one was accounted for. Quote When these little hidden gems are found like “Car Drives Off (Alternate Segment)” or the alternates for “Aunt Marge’s Waltz” and “The Firebolt”. How are these found? Just listening in on the tapes and suddenly they just pop up? Or is there more to it (seeing it in sheet music, etc. first and tracking it down) For "Car Drives Off" and the original "Firebolt", we knew they existed from the sheet music, just no idea if they were recorded. For Azkaban, Mike received a huge archive of cues from Warner Brothers and a different archive from the music editor, and the earlier "Firebolt" was right there, no issues. For "Car Drives Off", once Mike got every take of every cue, he found it and we were thrilled we could include it. For "Aunt Marge's Waltz" alternate opening, I never even knew it existed, and when he told me he had an alternate opening I had no idea what to expect. When I got to that track on my first listen, I was pleasantly surprised by how it sounded; I prefer it over the original opening! Quote Are you able to share with us more details about the making of the set from your perspective? How you were approached, when you got to hear things (and what you got to hear), the interactions between you and Mike, etc.? Mike and I have been friends since my first trip out to LA in 2013, and he solicited my help on a title in 2016 (it hasn't come out yet). After that I helped in very small ways on CE3K and ET in 2017, and during a phone call in the spring of 2018 he asked me if I'd be willing to help him on a new project, and that turned out to be Harry Potter, and of course I said yes. Our interactions are a blend of phone calls and emails. Emails typically for quick questions or exchanging of files or organized information, and phone calls for discussing various options or just kind of catching up on the status of various projects. It should be clear that 100% of the editing, mixing, assembly, and mastering work is entirely done by Mike, and if he asks for my opinion on how anything might be sequenced I will provide it, and he will either take it or not. If he is determined that something should be presented in a certain way I wouldn't try to talk him out of it, but I certainly did feel that every opinion I gave was considered genuinely, whether he ultimately went my way or not. I had no access and did not directly hear any unmastered studio elements; Once he was happy with an assembled and mastered album, he would dropbox it to me for me to listen and give feedback. The feedback I supplied would be detailed and comprehensive, and cover everything from the order of tracks, the editing of cues withing the tracks, the mastering, and anything else I thought of. Very little changed between the first version of each album I heard and the final one that got released. Quote Some more specific ones, just PoA related, Starting with some more random curious questions. This is based on the cue list and not really anything to do with the set (nor is it a complaint about something not being included), just thought I’d ask while you’re here. What is the cue “Ad-Lib Hum”? I’m assuming that’s Hagrid’s hum thing he does when he reveals Buckbeak? I would assume so. Quote This is an utterly random question. The opening of “The Executioner” includes what I had always assumed to be the Clock Tower in the film. Looking back, it does appear to be a different pitch than the Clock Tower heard throughout the rest of the film. It does raise the question though. Did Williams write the clock chime? Or is that sound guys again? Nothing the sound guys did is included on the set in any way. That is how the cue was recorded. Quote Are there any stories that you know of behind “Trailer” from PoA? Specifically when it was recorded in relation to the score, etc. I ask because it all is so very different from the tone and style established in “Teaser” and the rest of the score. I have no idea when it was "recorded", and I'm pretty sure its just music from a trailer house seguing into the Reunion of Friends recording from HPCOS. It was included in the archives WB sent over, so Mike put it at the end of the album to both be comprehensive and to give the album, and the entire set, a "big finish". Quote Was all the additional material (that was not present in the film) in “Befriending the Hippogriff” intended for that scene or is there other stuff in there? There’s so much music after the point where the cue stops in the film and not enough time for it all to appear in the scene. I’m sure Williams may have written to an earlier cut, but thought I’d ask if any of it is actually for something else. This is my only problem with deviation from the chronology of things / combining cues. It makes a tad harder to know what everything is. The presentation is still lovely however, I love a lot of the combos you guys came up with. First of all I deserve no credit for any cue combos, those were all 100% decided by Mike. The music at the end of "Befriending the Hippogriff" is an unused cue called "Bonding with the Hippogriff" that was intended to be used after "Buckbeak's Flight", but dropped from the final film. Quote I assume that the very cool opening of “More Grim and Boggarts” is meant to be an alternate of “You Have The Grim”, correct? Yes Quote I am a bit perplexed by the “The Three Broomsticks” track. So, am I right in assuming that the opening 40 seconds is “Up The Stairs”? I assume Pettigrew’s motif was again tracked in to appear multiple times vs the one time it appears here. I ask for confirmation on what the opening was, because this track is very well blended to create a nice cohesive combo of these cues. I was having some difficulty figuring out where there was a split, if there even was a split, or if it was recorded altogether and moved around in the film. Bravo to you guys for this one. Great mixture. Yes the beginning of that track is Up The Stairs, and it segues from there into Brief Snow Scene. Those are the only 2 cues in the track. Quote Another question on “The Three Broomsticks” cue. The film has a much more reserved / somber ending. 3:07 and onward don’t seem to appear in the film at all (with the exception of 3:30-End appearing with the choir only). Is this more somber ending hiding somewhere on the set / Tracked from elsewhere? Or is that another case of the sound guys coming up with something / remixing the cue? You're just hearing how Williams originally scored the scene, in the final cut of the film a portion was replaced by music tracked in from "Lupin's Departure". Quote Oh! Is this cool little extension from 2:36-End in “Buckbeak’s Fate and the Marauder’s Map” the Reveal Your Secret cue from the sheets that wasn’t used in the film? I really dig it! Yes Quote Thats all I have for now. I’m sure there will be more to come. Again, what a wonderful piece of art. pete, Will, Molly Weasley and 14 others 9 8 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 4 minutes ago, Jay said: The whole thing is still surreal to me, that I would even be asked to work on something so large and important! The whole thing came together extremely quickly (especially for 7 discs / 8 hours of music!) and it all happened in March, so it's a bit of a blur, really. I mostly remember the thrill when Mike finally got access to every take recorded for COS, and he could look for some of the stuff we thought might exist on early takes based on the sheet music. When he founder the earlier Prologue cue, and the original endings to Petrified Colin and Follow the Spiders, I was ecstatic! But the most thrilling parts were probably hearing music I never even knew existed before - Hedwig's Theme for Harp, Hogwarts Forever (Vocal Version), and the 3 COS television commercials. And the fact that they are all SO cool on top of simply being "new" was icing on the cake. And of course finally hearing clean Azkaban music after all these years was ecstatic. If I recall correctly, I couldn't stop myself from listening to Rescue of Sirius first, before listening to the entire album in order. For Car Drives Off and the original Firebolt, we knew they existed from the sheet music, just no idea if they were recorded. For Azkaban, Mike received a huge archive of cues from Warner Brothers and a different archive from the music editor, and the earlier Firebolt was right there, no issues. For Car Drives Off, we knew it might exist based on the sheet music leak, and once he got every take of every cue, he found it and we were thrilled we could include it. For Aunt Marge's Waltz alternate opening, I never even knew it existed, and when he told me he had an alternate opening I had no idea what to expect. When I got to that track on my first listen, I was pleasantly surprised by how it sounded; I prefer it over the original opening! Mike and I have been friends since my first trip out to LA in 2013, and he solicited my help on a title in 2016 (it hasn't come out yet). After that I helped in very small ways on CE3K and ET in 2017, and during a phone call in the spring of 2018 he asked me if I'd be willing to help him on a new project, and that turned out to be Harry Potter, and of course I said yes. Our interactions are a blend of phone calls and emails. Emails typically for quick questions or exchanging of files or organized information, and phone calls for discussing various options or just kind of catching up on the status of various projects. It should be clear that 100% of the editing, mixing, assembly, and mastering work is entirely done by Mike, and if he asks for my opinion on how anything might be sequenced I will provide it, and he will either take it or not. If he is determined that something should be presented in a certain way I wouldn't try to talk him out of it, but I certainly did feel that every opinion I gave was considered genuinely, whether he ultimately went my way or not. I had no access and did not directly hear any unmastered studio elements; Once he was happy with an assembled and mastered album, he would dropbox it to me for me to listen and give feedback. The feedback would be about the order of tracks, the editing of cues withing the tracks, and the mastering too. Very little changed between the first version of each album I heard and the final one that got released. Great insight @Jay. Very cool. I'm so thrilled you got to be a part of the sets creation and discovering all these awesome extra gems and alternates sounds like an awesome experience. Thanks for answering all those broad questions! Thanks also for clarifying some of my thoughts and questions about the score as well. 7 minutes ago, Jay said: First of all I deserve no credit for any cue combos, those were all 100% decided by Mike. The music at the end of "Befriending the Hippogrif" is an unused cue called "Bonding with the Hippogriff" intended to be used after Buckbeak's Flight, but dropped from the final film. Well Mike did an awesome job. So many of these combos blend together wonderfully. That's really cool. 8 minutes ago, Jay said: Nothing the sound guys did is included on the set in any way. That is how the cue was recorded. I think for this, what I had meant to imply was that Williams clearly wrote this "Clock bell" sound into the cue. I was merely curious if you knew whether the clock bells you hear throughout the rest of film was something Williams had recorded that the sound guys used throughout the film or if the other clock tower chimes were purely just the sound guys and Williams almost emulates that sound in the Executioner. I assume they were the work of the sound guys since we don't hear the Clock Bells in "Sirius Says Goodbye / Turning Time Back" for example. 11 minutes ago, Jay said: You're just hearing how Williams originally scored the scene, in the final cut of the film a portion was replaced by music tracked in from Lupin's Departure. Ah. I see. That makes sense now. Great to have the original intention! Just didn't know what the film was doing there. Makes perfect sense now. Thanks again for taking the time! Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 15, 2018 Author Share Posted December 15, 2018 Just now, TSMefford said: I think for this, what I had meant to imply was that Williams clearly wrote this "Clock bell" sound into the cue. I was merely curious if you knew whether the clock bells you hear throughout the rest of film was something Williams had recorded that the sound guys used throughout the film or if the other clock tower chimes were purely just the sound guys and Williams almost emulates that sound in the Executioner. I assume they were the work of the sound guys since we don't hear the Clock Bells in "Sirius Says Goodbye / Turning Time Back" for example. I'd assume all clock bells in the film are from the sound team TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post Once 604 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 Very fascinating information, @Jay. All of your hard work really paid off. I have a question, if you don't mind. How late in the process was Williams consulted? On this album, that is. And was it an "approved/not approved" scenario or did he give any specific feedback? TSMefford, crumbs, Alan and 2 others 5 Link to comment Share on other sites More sharing options...
Popular Post Alex 2,833 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 When I saw “Ad-lib Hum” wasn’t on the set, I immediately chucked it in the bin. Bilbo, crumbs, DJMcNiff and 3 others 1 4 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 5 minutes ago, Alex said: When I saw “Ad-lib Hum” wasn’t on the set, I immediately chucked it in the bin. I know me too. Da-DaDa-Daaaaa. My favorite cue redishere 1 Link to comment Share on other sites More sharing options...
Once 604 Posted December 15, 2018 Share Posted December 15, 2018 1 hour ago, El Jefe said: Sometimes the short missing cues are the best, The Shawm Source. crumbs and TSMefford 2 Link to comment Share on other sites More sharing options...
Popular Post King Mark 3,625 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 3 hours ago, TSMefford said: I honestly don’t mind the OST for HP1 at all. I think it’s such a smart and clever musical experience. It wasn’t really until Chamber of Secrets that I started really feeling like I was missing things and frustrated by the way the OST was done. POA was even worse. Now, that being said. The OSTs just accomplish something very different. They’re albums, and are more about the experience like other albums are. I do appreciate having them though. They’ll definitely stick around in my library. The problem with Williams OST"s is it takes real fans decades to get complete score. If he did like Howard Shore of Hans Zimmer and release a deluxe edition right away there would be no problem. Williams wants to please the general public but it never occurs to him he has more hard core fans and never made an effort (until now because of MM) to please any of us. It's having to wait for Oscar FYC's, looking in videogames and DVD menus that's the real problem with Williams OST"s Chewy, Ricard, CGCJ and 5 others 8 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 15, 2018 Share Posted December 15, 2018 We all get hooked by OSTs in the first place. Well the people of my age. The TRUE fans 😝 redishere 1 Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 15, 2018 Share Posted December 15, 2018 I've been listening to these longer than you and I've been pissed we don't have unreleased music since 1983 when RotJ came out Chewy 1 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted December 15, 2018 Share Posted December 15, 2018 19 minutes ago, King Mark said: I've been listening to these longer than you and I've been pissed we don't have unreleased music since 1983 when RotJ came out You are too old, that's another problem, grumpy old man! 😋 bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post Richard Penna 3,671 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 How weird that I'm reading more support for JW's album arrangements in an era that his scores are literally flowing one by one in complete form. I maintain a fondness for the way he joins a lot of his cues. That's a practice that he does really well and I replicated some of them for JP and HP. But I could never exclude all the new expanded material. Pieter Boelen, TSMefford and Once 3 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 15, 2018 Share Posted December 15, 2018 It might have to do with the movies and how they were made back then, but in the timeframe late 70's till exactly end of1982 Williams and Goldsmith produced great albums. It was never the same after that. Ollie 1 Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 15, 2018 Share Posted December 15, 2018 Here's a little more of my project. I can't wait until Christmas so I can hear the other scores and finish it! Hogwarts_lights_WIP_demo_2.mp4 TSMefford 1 Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted December 15, 2018 Share Posted December 15, 2018 12 hours ago, crocodile said: Without going into much detail... I prefer his more concise recent writing. It's sort if what happens to most composers late in their careers. They just sort of cut to the chase without showing off. Second reason is that I generally don't like his "kids" music as much as some other stuff. That is why one of my favourite scores of his recent career are The Book Thief and War Horse. Having said that, I enjoy his Potter scores and looking forward to revisiting Azkaban later today. Karol I know whachu mean. I really admire this element of his more recent writing, especially when it comes to his drama scores, but there's something...off about his new Star Wars scores. There is some _great_ music in them, some truly wonderful stuff, but then there are stretches where it sounds a little more block-handed; the music is thick and stuffy, lots of suffocating, held out string chords, that sort of thing. It just doesn't have that present-minded richness I expect from him...every contemporary score I hear from him outside of Star Wars though has it, including BFG and The Post, so maybe it's just the recording or performance, I don't know. bollemanneke and Kasey Kockroach 2 Link to comment Share on other sites More sharing options...
SteveMc 2,674 Posted December 15, 2018 Share Posted December 15, 2018 5 minutes ago, Nick Parker said: the music is thick and stuffy There is a distinct stylistic shift in John's music from this decade. Does seem more introspective, less spontaneous. I think this works wonderfully in The Book Thief and Lincoln. As for Star Wars, like you say it is hit and miss. TFA feels a bit heavy. TLJ, at times, despite heavy use of existing melodies, does not have the Star Wars "magic" to use a crude term. But, it is an incredibly well-crafted score. I suppose one has to approach it more introspectively. Link to comment Share on other sites More sharing options...
Ollie 1,059 Posted December 15, 2018 Share Posted December 15, 2018 I never got bent out of shape back in the 70’s and 80’s with missing music. I got plenty enjoyment out the soundtracks that were released at the time. That being said, I’m not complaining about complete released becsuse there was a lot of great music left off. Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 15, 2018 Share Posted December 15, 2018 Hey @Jay, when are we getting that POA spreadsheet? bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post mrbellamy 6,272 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 I think HP1 is a fine concept album in its own right, but I never really had any particular affection for the “album experience” of the other two. Though to be honest I’ve never really gotten into the whole art of that, anyway, I’m generally more of a “singles” guy than an “album” guy. I’d rather listen to my four favorite tracks than sit through an entire album repeatedly, with a few exceptions. Complete score releases are great because everything’s there and it lets me pick and choose what I like. bollemanneke, TSMefford and Will 3 Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 53 minutes ago, Space Pineapple Prod. said: Hey @Jay, when are we getting that POA spreadsheet? bollemanneke, MrJosh, A. A. Ron and 4 others 2 4 1 Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 15, 2018 Share Posted December 15, 2018 15 hours ago, TSMefford said: Gryffindor Wins The House Cup (Disc 2, Track 18) 1:46-End is just pure gold. Especially the statement at 2:09. Goosebumps that was main beef with the CoS re-recording of that track .That statement is omitted Is there a glitch at 6.54-6.57 of The Firebolt and end Credits Suite ? Why does the volume dip and the music sounds distorted? TSMefford 1 Link to comment Share on other sites More sharing options...
Richard Penna 3,671 Posted December 15, 2018 Share Posted December 15, 2018 1 hour ago, mrbellamy said: I think HP1 is a fine concept album in its own right, but I never really had any particular affection for the “album experience” of the other two. Though to be honest I’ve never really gotten into the whole art of that, anyway, I’m generally more of a “singles” guy than an “album” guy. I’d rather listen to my four favorite tracks than sit through an entire album repeatedly, with a few exceptions. Complete score releases are great because everything’s there and it lets me pick and choose what I like. Yes, that's how I do things most of the time. I start from a particular point and listen from there. Curiously, I don't do that with non-soundtrack albums, such as the one I have on now (Ilse DeLange, World of Hurt). I will usually have a track or two that gets more playtime than the others, but it's far more likely that I'll just play it as an album. Link to comment Share on other sites More sharing options...
Alan 689 Posted December 15, 2018 Share Posted December 15, 2018 12 minutes ago, King Mark said: Is there a glitch at 6.54-6.57 of The Firebolt and end Credits Suite ? Why does the volume dip and the music sounds distorted? Just sounds like the performance to me. I don't hear a distortion. Link to comment Share on other sites More sharing options...
Alex 2,833 Posted December 15, 2018 Share Posted December 15, 2018 16 minutes ago, King Mark said: that was main beef with the CoS re-recording of that track .That statement is omitted Is there a glitch at 6.54-6.57 of The Firebolt and end Credits Suite ? Why does the volume dip and the music sounds distorted? I noticed that too. Maybe it’s just a flub (by the trumpets?) Link to comment Share on other sites More sharing options...
Richard Penna 3,671 Posted December 15, 2018 Share Posted December 15, 2018 All I hear is that the strings between the brass stabs aren't as prominent which for a nanosecond makes it feel like the music has stopped. This is what I referred to in another post, that I'm not a fan of this recording. Link to comment Share on other sites More sharing options...
Brundlefly 2,385 Posted December 15, 2018 Share Posted December 15, 2018 The long track when they save Buckbeak - the transition to the new bat version - there is a weird flub, like a few frames are played twice - just before the new bat insert sets in. 8 minutes ago, Richard Penna said: All I hear is that the strings between the brass stabs aren't as prominent which for a nanosecond makes it feel like the music has stopped. This is what I referred to in another post, that I'm not a fan of this recording. Maybe JW wasn't either. Link to comment Share on other sites More sharing options...
redishere 697 Posted December 15, 2018 Share Posted December 15, 2018 My parcel is still floating in customs limbo, but I finally managed to listen to PoA, thanks to The Net. It was a lovely experience. I went for a walk in the countryside, it was cold but sunny, and there were fallen leaves everywhere. What can I say? The OST didn’t even begin to outline how complex, weird and diverse this score is. Such a great soundtrack. Compared to HP1 (which I love) or HP2, it’s a bid odd assembly of tracks ‘cause a lot of cues are short, disconnected and transitional, but it’s really an incredible and massive tapestry of sounds, and some track combos are quite enjoyable. I will surely let it sink in and listen to it a lot from now on, so I can put some more thoughts to words. Every minor issue (yes, even the absence of the shawm) disappears when listening to this masterpiece. The only thing that left me puzzled is the already mentioned WTTP overlay in Lupin’s Transformation: sound like two unrelated cues squashes together, and I think I have to get used to it. As for the infamous frequency cutoff, I tried putting the infamous cues (OST and LLL) side by side, switching from one to the other and, well: I might be hearing impaired but I really can’t hear the difference, even with big ass fancy headphones with good frequency response, so... guess adult males actually can’t hear shit above 15khz after all! (that 5 second shawm loop though 😭) Link to comment Share on other sites More sharing options...
Alan 689 Posted December 15, 2018 Share Posted December 15, 2018 9 minutes ago, Richard Penna said: that I'm not a fan of this recording. Oh wow. I LOVE this recording of it! I think the orchestra are on terrific form and there's a wonderful energy to it. TSMefford and Once 2 Link to comment Share on other sites More sharing options...
redishere 697 Posted December 15, 2018 Share Posted December 15, 2018 25 minutes ago, Brundlefly said: The long track when they save Buckbeak - the transition to the new bat version - there is a weird flub, like a few frames are played twice - just before the new bat insert sets in. Noticed that too. Perhaps the cue is just slightly longer and MM didn’t wanna cut it to match the film version? Edit: nevermind, it’s just a different tempo, I listened to it again and it flows fine. Had a similar impression with The Flying Car but I just have to get used to it bollemanneke 1 Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 15, 2018 Share Posted December 15, 2018 I almost feel like puitting the Teaser version of Double Trouble in place of the OST one in the main body of the score So far may only problem with the assembly is the opening of PoA Track 08 Trouble Takes Many Forms .That should lead into Double Trouble but it feels weird to have it after. TSMefford 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 15, 2018 Share Posted December 15, 2018 I should stop reading this thread. It's fast becoming just a listing of all the perceived mistakes and flubs and flaws in this set.... TSMefford 1 Link to comment Share on other sites More sharing options...
Richard Penna 3,671 Posted December 15, 2018 Share Posted December 15, 2018 I thankfully haven't noticed anything wrong with it except the creatively questionable Lupin overlay. redishere 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 16, 2018 Share Posted December 16, 2018 14 minutes ago, Richard Penna said: I thankfully haven't noticed anything wrong with it Yeah, me neither. And I'm not actively looking for something wrong with it, either, like some of us seem to be doing. Alan 1 Link to comment Share on other sites More sharing options...
Popular Post Space Pineapple Prod. 183 Posted December 16, 2018 Popular Post Share Posted December 16, 2018 I loved POA. There wasn't anything wrong with it in my listening experience. It feels like hearing it from within the orchestra itself, as though you're in an ocean of sound. TSMefford, Molly Weasley, Alan and 1 other 4 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 16, 2018 Share Posted December 16, 2018 1 minute ago, Space Pineapple Prod. said: I loved POA. There wasn't anything wrong with it in my listening experience. It feels like hearing it from within the orchestra itself, as though you're in an ocean of sound. Agreed! It's a new, exhilarating experience. Unforgettable. Alan and TSMefford 2 Link to comment Share on other sites More sharing options...
Popular Post Richard Penna 3,671 Posted December 16, 2018 Popular Post Share Posted December 16, 2018 5 minutes ago, Josh500 said: Yeah, me neither. And I'm not actively looking for something wrong with it, either, like some of us seem to be doing. Indeed. Quite the opposite - I was feeling elated when I'd finally ripped the whole lot and was making my playlist. In fact it's precisely because this is a pretty flawless set that I decided to keep the whole PoA album. Alan, Josh500 and TSMefford 3 Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 16, 2018 Share Posted December 16, 2018 Just now, Josh500 said: Agreed! It's a new, exhilarating experience. Unforgettable. I have heard a live orchestra play parts of this score and this is more immersive. I didn't even think that was possible. Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 16, 2018 Share Posted December 16, 2018 3 minutes ago, Space Pineapple Prod. said: I have heard a live orchestra play parts of this score and this is more immersive. I didn't even think that was possible. Well, that's natural, though, isn't it? It's John Williams conducting the orchestra and coaxing the best out of the players under a controlled setting (meaning it's not a live performance, where a few mistakes are always bound to happen)... Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 16, 2018 Share Posted December 16, 2018 5 minutes ago, Josh500 said: Well, that's natural, though, isn't it? It's John Williams conducting the orchestra and coaxing the best out of the players under a controlled setting (meaning it's not a live performance, where a few mistakes are always bound to happen)... Well I wouldn't say that. I'd consider my experience seeing ESB live more immersive than any time I've watched the movie or listened to the score. Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 16, 2018 Share Posted December 16, 2018 59 minutes ago, Space Pineapple Prod. said: Well I wouldn't say that. I'd consider my experience seeing ESB live more immersive than any time I've watched the movie or listened to the score. Well, depends on what your definition of "immersive" here is. If you mean it's immersive because of combination picture and live performance, then needless to say, a CD set can't compete. Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 16, 2018 Share Posted December 16, 2018 3 minutes ago, Josh500 said: Well, depends on what your definition of "immersive" here is. If you mean it's immersive because of combination picture and live performance, than needless to say, a CD set can't compete. I don't think it was that. Every live performance of the Imperial March, movie or no movie, has brought me close to tears. This set replicates that same level of wonder. Link to comment Share on other sites More sharing options...
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